Multimedia > Deleted Scenes > Escape From New York (Source: Louise Jaffe/Script Supervisor)




Bank Robbery Opening Sequence


INT. FUTURISTIC COMPLEX - DAY - LOW ANGLE

A large computer room. Eerie neon lighting.
SUPERIMPOSE:

BANK OF THE UNITED STATES COLORADO FEDERAL RESERVE
3:35 P.M.
OCTOBER 21, 1997

Suddenly a small, mechanized trolly rounds a corner. There is a flashing yellow light on its top. Speakers in the sides. As the trolly MOVES PAST CAMERA, a pleasant, female voice speaks.

COMPUTER (V.O.)
Attention. Banking hours are over. Lock-up begins in thirty seconds. All personnel must leave the blue coded areas immediately. Thank you.

CAMERA PANS with the trolly as it rounds another corner. Then a figure stands up from behind a machine. A MAN in a brown maintenance uniform, A cap on his head. Carrying a satchel. Too far away to see his face. He darts away.

LOW ANGLE PANAGLIDE - MAN'S BOOTS

CAMERA PANAGLIDES along with the man's boots. Close to the floor. Through the huge computer room. Through a doorway, into another room. Ducking close to the machines. Keeping out of sight. CAMERA MOVES UP to the satchel he carries.

PANAGLIDE ON MAN - MAN TRAP

CAMERA PANAGLIDES CLOSE on the man's back. Emblazoned on the uniform is "COLORADO SOLAR," He moves AWAY FROM CAMERA up to a man trap.

CLOSE - I.D. SLOT

An I.D. slot in the man trap. The man's hand inserts a small metal screwdriver with an elongated point.

ANGLE ON MAN TRAP

The door opens. The man steps inside. The door closes. He inserts the screwdriver into another slot and the outer door opens. The mans ducks out.

PANAGLIDE WITH MAN

As he moves down corridors, around corners, through the hallway of the futuristic bank. The man and CAMERA round a corner and MOVE through a door up to an elevator. Marked: "ROOF EXIT." The man's hand punches the button.

Suddenly a SHRILL, CLANGING ALARM goes off!

COMPUTER VOICE
(calmly)
Attention. Code red. A bank robbery is in progress. All security personnel to code red stations.

The elevator doors open. The man plunges inside.

INT. ELEVATOR/EXT. DESERT - DAY - PANAGLIDE

The man punches the "ROOF" button. The doors close. The CLANG of the alarm fades as the elevator rises.

The man rips out of his maintenance uniform. His cap comes off. Long hair underneath. But we still don't see his face. Just pieces of his clothing. A black leather jacket. Boots. Fatique pants.

The the doors open. A blast of sunlight. The man dashes out into a bleak, expansive Colorado desert. This is the roof of the underground bank!

CAMERA PANAGLIDES with the man as he races toward a concrete structure with doors in it. Up to the doors. The screwdriver is inserted into a lock. The doors slide open. The man ducks inside, CAMERA MOVING BEHIND HIM INTO DARKNESS.

INT. ESCALATOR - TERMINAL CORRIDOR (ATLANTA TERMINAL)

OUT OF DARKNESS, moving down a huge escalator toward the lighted floor bellow. CAMERA PANAGLIDES off the escalator on to the huge terminal corridor.

As he turns and begins to run, CAMERA PANAGLIDES BACK WITH HIM to REVEAL SNAKE PLISSKEN. Arrogant, mean and handsome. His left eye is totally black. An eye-patch.

He hurtles off down the corridor. A sign on the concrete walls: "PACIFIC EXPRESS".

INT. SUBWAY PLATFORM - PANAGLIDE (MARTA)

CAMERA PANAGLIDES WITH PLISSKEN down another escalator into a subway platform. Empty, except for a FIGURE crouched down by wall. Plissken and CAMERA RUN toward the figure. Closer. It is BILL TAYLOR. He wears an army fatique jacket and a cap. Long dark hair. Older than Plissken. Late thirties. He works feverishly on a mass of wires in identical satchel next to him.

TAYLOR
You're early!

PLISSKEN
They're on my ass!

Taylor works the wires with blinding speed. Finally Taylor CLICKS his wires into place. Then, a moment later, the ROAR of a subway train coming to life. The train RUMBLES up to a stop on the tracks. It is completely empty.

Plissken and Taylor run for the train. Taylor lopes along with a limp, slowing him slightly. They duck inside the car.

INT. SUBWAY CAR (MARTA)

Neon lit. The doors close. Plissken and Taylor hang on as the train begins to accelerate, its engines WHINING. 50 m.p.h., 60, 70, 80.

PLISSKEN
We wired in to Seattle?

TAYLOR
(disgruntled)
Maybe. Maybe Seattle, maybe San Francisco, maybe Barstow. I can't tell, those goddamn circuits are so small.

Plissken tosses his satchel to Taylor. Taylor just stares in amazement. Plissken slumps down in a seat. Taylor zips open the satchel.

INSERT - SATCHEL

Inside are hundreds of plastic white credit cards. Printed on them are "MASTER, U.S. NATIONAL BANK," "MASTER, U.S. PORT AUTHORITY," "MASTER, U.S. TOBACCO RESERVE," etc.

ON PLISSKEN AND TAYLOR

Taylor's eyes are wide.

PLISSKEN
Congratulations. You're a billionaire.

TAYLOR
Jesus, Snake, look at this!

PLISSKEN
You look at it. I'm tired.

Plissken folds his hands and leans back in the seat. He closes his eyes.

TAYLOR
Come on, man, we gotta split it up!

PLISSKEN
I trust you.

As Taylor opens his empty satchel and begins splitting up the take, Plissken drifts off to sleep.

CUT TO:

WIDE SHOT - SUBWAY CAR

Plissken and Taylor are both asleep. The subway train comes to a WHOOSHING stop. The doors open. A pre-recorded voice:

SUBWAY VOICE
Welcome to San Francisco. Please step to your right.

Plissken and Taylor stir, gather themselves and walk out of the car.

EXT. SAN FRANCISCO SUBWAY PLATFORM - PANAGLIDE (BART)

As the subway train ROARS away CAMERA PANAGLIDES with Plissken and Taylor through the empty subway platform. They walk toward the "up escalator."

TAYLOR
San Francisco ain't bad. I can spend a billion here.

PLISSKEN
Yeah.

TAYLOR
Can't spend it in Barstow, man.

PLISSKEN
Yeah.

Plissken looks around suspiciously.

TAYLOR
What's wrong?

INT. UPPER LOBBY - PANAGLIDE (MARTA)

They come off the escalator into a completely deserted upper lobby. They begin to walk. CAMERA PANAGLIDES WITH THEM. Plissken continues to glance around.

TAYLOR
It's four in the morning, Snake. Stop worrying, man. We made it!

Suddenly Taylor is hit! His shoulder and Arm EXPLODE! Four bullets from an automatic rifle!

Taylor slumps to the floor. Plissken grabs him and looks back.

POV - TROOPERS - ESCALATORS

SIX TROOPERS.  Spread out across the escalators in a line. Black uniforms. AR-15 rifles. Helmets. Face plates. Featureless. They move slowly down the escalators.

ON PLISSKEN AND TAYLOR - PANAGLIDE

Plissken pulls Taylor to his feet. They start running. CAMERA PANAGLIDES WITH THEM. Back down to the subway platform. Taylor can barely move. He falls behind.

CAMERA MOVES WITH PLISSKEN toward the subway train. Then Plissken stops. Looks back. Taylor is not behind him. Plissken pauses a moment.

PLISSKEN
Taylor!

No answer. Plissken stares. Torn. Trying to decide. Glances at the subway train and freedom. Then finally makes his mind. He moves back up the escalator to the lobby.

POV - TAYLOR AND TROOPERS - PANAGLIDE

Back into the lobby. Taylor stands twenty feet away. Barely able to stand. Still clutching the satchel. Dragging himself away from the troopers that slowly close in.

ON PLISSKEN

Sees his friend. Decided. Plissken drops his satchel.

PLISSKEN
Drop the bag, Taylor.

POV - TAYLOR AND TROOPERS

Taylor keeps clutching the satchel. Still moving toward Plissken.

TAYLOR
Go on, Snake! Go on!

ON PLISSKEN
Drop the bag!

POV - TAYLOR AND TROOPERS

One of the troopers OPEN FIRE! Taylor is riddled with bullets! He flops to the floor dead! The troopers move forward toward Plissken.

ON PLISSKEN

He stares at Taylor's body. Stunned. Quiet. TROOPERS move in toward him. He is surrounded. He raises his hands over his head. Continues to stare at Taylor's body. As the troopers close in around him CAMERA MOVES IN TO his face.


Trivia: This opening sequence was cut after a test screening John Carpenter had. They became disillusioned with the plot due to its length. He also felt it slowed down the movie and also softened Plissken.


Trivia: Parts of this opening sequence became available in 1994 in a documentary featured on the Director's Special Edition VHS and Collector's Edition Laserdisc.

Trivia: This sequence premiered in its entirety on the US Special Edition DVD released in 2003 along with an available commentary track by John Carpenter and Kurt Russell. It was found in its entirety while working with Alan Howarth in his studio on the documentary featured on this DVD. Howarth had kept a VHS copy of Carpenter's first reel of the Final Cut that he had used during scoring session. Sound effects had to be added because the sequence was dropped before sound editor David Lewis Yewdall had begun working on it. Carpenter composed new music for it as well. The original score track is called Bank Robbery and it premiered on the Expanded promo CD release of Big Trouble In Little China from Super Tracks Music Group as a bonus track in 2000. It is also available on the Expanded CD releases of Escape From New York.

Trivia: Joe Unger (Taylor) was
originally cast to have a smaller role in the movie but John Carpenter decided to cast him as Taylor instead later on.



Plissken Entering The Debarkation Area (MP4) (226 KB)

Source: Teaser Trailer 1



Plissken Confronting The Duty Sergeant

INT. POLICE COMPLEX CORRIDOR

CAMERA FOLLOWS Plissken through the door into the bunker. There are huge signs:

PRISONERS:

NO TALKING
NO SMOKING
FOLLOW THE RED LINE

A corridor. The red line leads to a guard station. Several GUARDS stand with rifles. A DUTY SERGEANT sits behind the desk. He glances up as Plissken passes.

DUTY SERGEANT
Hold up.

Plissken stops. The duty sergeant glances through several folders and picks out one. He opens it.

DUTY SERGEANT
Mister Snake Plissken.

The guards react. They stare at Plissken.

DUTY SERGEANT
How are you tonight, Plissken?

PLISSKEN
(emotionless)
Fabulous.

DUTY SERGEANT
(smiles)
Not for long.

A guard nudges Plissken forward. He continues down the corridor. Toward a doorway with a sign above it:

GOODBYE, CHARLIE. DON'T THINK IT HASN'T BEEN FUN!

CAMERA FOLLOWS Plissken into the doorway into BLACK.




A Secret Service Man Gunning Down The Stewardess Flying Air Force One

INT. COCKPIT - JET - NIGHT

STEWARDESS
The bosses of the racist, sexist police state are shuddering under the collective might of the worker's rightful vengeance.

ANGLE ON STEWARDESS

STEWARDESS
Workers of the world. Look up into the skies! The people have won a glorious victory!

Suddenly the door to the cabin flies off its hinges and the Secret Service Man jumps into the doorway! He stares past the Stewardess out the windshield in horror. Then, with only seconds to live, he aims the rifle and angrily pulls the trigger!

The Stewardess is riddled with bullets! The controls EXPLODE!



Hauk Talking To Cronenberg After Hanging Up The Red Phone

INT. CONFERENCE ROOM, OUTER OFFICE - NIGHT - PANAGLIDE

The room is lit from neon lights. Smoky. A map of Manhattan Island on the wall. The SECRETARY OF STATE is on a red telephone. Hauk sits staring at the map. Tension and gloom.

SECRETARY OF STATE
I'm convinced there's no connection, sir. The prisoners aren't aware of the hijacking. As far as they're concerned it was an accident... Yes sir. He's right here.

The Secretary of State hands the phone to Hauk.

HAUK
(into telephone)
This is Bob Hauk.

A pause as Hauk listens. The Secretary of State paces restlessly.

HAUK
We can't. If we go down there with choppers, they'll kill him. We're lucky if he's still alive.
(paus)
They don't want anything yet, and by the time they figure out what they want it'll be too late.

SECRETARY OF STATE
(whispers to Hauk)
Tell him we have to go with your plan now!

HAUK
(into phone)
We can't wait till tomorrow. If we have to move in and take the island it's a last resort. It's eight forty-five. I want permission to try the rescue.
(pause)
Thank you.


Hauk hangs up. He looks at the Secretary of State, then gets up and quietly walks out the door. CAMERA MOVES WITH HIM into the small outer office.

DR. CRONENBERG, a tall, lanky physician with a worried face, stands up from his chair.

HAUK
Is it ready?

DR. CRONENBERG 
Yes, but I can't guarantee...

HAUK
(interrupts)

How long will it take?

DR. CRONENBERG
A few seconds. But I'm against using it...

HAUK
I have a directive from Washington.

DR. CRONENBERG
This is an experimental unit, Hauk. I've never tried it on a man...

HAUK
You can test it out.

A POLICE SERGEANT enters the room.

SERGEANT
They just took him in to quarantine.

HAUK
Bring him to my office


Comment (John Strobel/Cronenberg): "I knew Tom Lillard (Police Sergeant) when he was with Joseph Chaikin's "Open Theater" in NYC and studied with him for a bit when he did an artist residency in Michigan. He was also in the Living Theater. Early experimental theater stuff." 



The Glider Vibrating

INT. COCKPIT

The control stick begins to jiggle and shake. Plissken holds it tightly.

CLOSE ON SCREEN (EFFECT)

Up ahead is the target: a computer outline of the World Trade Center. The red blip pulses right on top.

ON PLISSKEN

The glider suddenly vibrates wildly. The stick shakes. Plissken pushes the stick to the side.

CLOSE ON SCREEN (EFFECT)

The geomatric view on the front screen tilts and spins around.

ON PLISSKEN

As he fights the vibration to keep the glider in a steady turn.

HAUK
(over radio)
Plissken...

The glider vibrates again. Plissken is shook by the jittering stick.

HAUK
Plissken...

Plissken brings the control stick to the forward position then pushes it down.

HAUK
Plissken, what are you doing?

PLISSKEN
Playing with myself. I'm going in.



Plissken Getting Off The Glider On The Roof Of The World Trade Center

INT. COCKPIT

Plissken sits motionless for several seconds. Finally he unbuckles his seat belt and begins flipping switches. The screens in the cockpit blink off one by one. The air cooling system shuts off.

HAUK
(over radio)
Plissken?
(pause)
Plissken...?

EXT. TOP OF WORLD TRADE CENTER

Plissken crawls out of the cruiser. He closes the cockpit covering, shutting off Hauk's voice. He is precariously close to the edge of the building. He crawls back along the length of the cruiser on to the roof. It is almost completely flat and deserted. There is an old heliport control shack. Empty.



Plissken Watching The City On The Roof Of The World Trade Center

EXT. TOP OF WORLD TRADE CENTER

PLISSKEN'S POV - CITY (EFFECT)

Tall buildings with broken windows and dark interiors. Smoke rising in the distance.

Comment (R.J. Kizer/
Project Supervisor: Special Visual Effects): "This shot was finished, redone with changes, delivered, then dropped from the cut."

Storyboard: Copyright Joe Alves Movie Art (Joe Alves Movie Art)



Plissken Entering The Office Floor In World Trade Center

INT. CORRIDOR - WORLD TRADE CENTER - NIGHT

Darkness.

Suddenly a door opens. Plissken stands silhoutted at the end of a long corridor. He steps in and closes the door behind him.

CAMERA BEGINS TO MOVE as Plissken walks. An office corridor, now wrecked and shattered. He peers in an office door. Desks, broken windows, wind HOWLING in, debris everywhere.

ON PLISSKEN - OFFICE

He stops a moment at the doorway. He steps inside and walks to one of the windows. He takes a pocket radio from his backpack, pulls out the antenna and flips a switch.



Plissken On His Way Down The Stairwell And Someone Following Him In World Trade Center

INT. STAIRWELL - NIGHT

A dizzying SHOT looking down the stairwell going down forever to the bottom of the World Trade Center. Plissken is several floors below us, moving steadily downward.

Suddenly the figure whishes by CAMERA! Too close to see what or who it is. Just the briefest glimpse. Someone silently following Plissken down the stairwell.

Comment (Louise Jaffe/Script Supervisor): "Dolly shot of Snake comes down stairs."



Plissken Seeing Three Indians Roasting A Cat And Is Almost Garroted By A Fourth Indian From Behind In The Lobby Of The World Trade Center

INT. LOBBY - WORLD TRADE CENTER - NIGHT

Plissken steps through an open doorway into a dark corridor. He moves cautiously forward, CAMERA TRACKING with him.

POV - LOBBY - MOVING SHOT

CAMERA MOVES DOWN the corridor toward the huge, dark, labyrinthine lobby of the World Trade Center. The wrecked, smashed, raped remains of an incredible foyer.

On the walls is a flickering orange glow. The source of the glow is hidden by a dilapidated guard station.

ON PLISSKEN

He slips quietly up to the guard station and peers over it.

POV - CAMPFIRE

The glow is from a campfire in the middle of the lobby.

Seated around the fire, legs crossed, hunched over, are what seem to be THREE INDIANS. Long hair held in place by headbands. One of them wears a home-made version of a headdress of feathers. Beads. Leather boots.

ON PLISSKEN

He moves up closer, around the very edge of the guard station.

CLOSER - CAMPFIRE

One of the Indians is roasting something over the fire. It is a cat. There are weapons around them: what looks like a bow and a quiver of arrows, knives, etc. There is a conversation going on but we can barely catch snatches of it.

One of them indicates a long pole with what seems to be scalps hanging on it.

ON PLISSKEN

Slowly Plissken backs away from the guard station.

Suddenly out of the darkness behind him the figure leaps out! A FOURTH INDIAN! Wild eyes! Piano wire stretched like a noose between his hands!

He loops the wire! Over Plissken's head! Around his neck!

Plissken reacts! The last second! His hand to his neck! The piano wire SNAPS around his hand instead of his neck! The piano wire SNAPS around his hand instead of his neck!

The Indian yanks him backward! And SCREAMS! A WAR-HOOP!

Plissken moves! Jams his elbow backward into the Indian's gut!

Indian doubles over!

Plissken ducks out of the piano wire noose, spins around and drops the Indian with a forearm across his neck!

Instantly Plissken begin to run. Down the corridor.

Around the guard station come the three other Indians. Bows, knives, arrows in their hands!

Plissken reaches into his back-pack. Pulls out the flare pistol.

Stops. Spins around. Cocks the flare pistol. Fires!

The flare hits the floor in front of the three Indians and EXPLODES! HISSING, SPLASHING PHOSPHORUS BALLS OF FIRE fill the corridor! Like a miniature napalm blast!

The Indians dive for cover!

Plissken races away down the corridor.


Photo 5: Copyright Kim Gottlieb-Walker (Lenswoman)



Plissken Running Out From The World Trade Center

EXT. WORLD TRADE CENTER - NIGHT

A door BLASTS open! Plissken lurches out and runs to a concrete wall. He ducks behind it.

Several beats. The three Indians charge out the door. In a frenzy. Searching for him.

They race over to the concrete wall.

CAMERA PULLS BACK TO REVEAL Plissken is gone.




Close-Up On The Drag Dancers In The Theater
(MP4) (207 KB)

Source:
Teaser Trailer 1



Plissken Having An Altercation With The Manager In The Theater

INT. THEATER AUDITORIUM

ANGLE ON PLISSKEN - REAR ON AUDITORIUM

Plissken stares at the show in progress. Suddenly a long, gnarled club WHAPS down on Plissken's shoulder! Plissken turns around. Slowly. Keeping his gun ready, but hidden by his body. From MANAGER. A large, hulking man with a steel face. Next to him is Boyle, now wide awake. Manager withdraws the club and SMACKS IT into his hand. Again and again.

MANAGER
How'd you get in here?

PLISSKEN (carefully)
The front door.

Manager turns on Boyle.

MANAGER
What the fuck is he doing here?

BOYLE
Musta slipped by...

Manager suddenly WHAPS Boyle with the club.

BOYLE
Okay! Okay!

Boyle dashes off into the lobby. Again, Manager begins TAPPING the palm of his hand with the club.

MANAGER
Two cans to see the show, three cans for a seat, another can to sleep on it. No loitering.

The compass-homing-device BEEPS. Still pulsing. Plissken checks it. Then he turns. And raises the rifle. Manager reacts. The club stops and is motionless.

PLISSKEN
Excuse me.

The Manager stares at the rifle fearfully. Plissken quickly moves off into the shadows of the auditorium.


Comment (Tony Papenfuss/Theater Assistant): "Memories are hazy. Hell, I had forgotten that I had any lines. Probably did that on set as well. The most I recall is that the scene was shot in its entirety, probably 3 or 4 takes, can't remember location, and Borah looked ragged, dusty, hairy, big and menacing. I looked ragged, dusty and weaselly."



Plissken Buttstroking The Punk Leader Who Swings A Scissor Blade
At Him In The Basement Of The Theater

INT. THEATER BASEMENT

Plissken steps into the basement. Dark. Cave-like. Lit by torches on the walls casting grotesque shadows. Plissken starts walking.

Suddenly out of the darkness FIGURES loom. FOUR MEN. They look like Punk Rockers. Delinquents from the 1950's. Sort of. Short, crew-cut hair. Eye makeup. Leather. In their midst is a GIRL. GIGGLING as she is pushed and shoved and passed roughly from man to man. Bottles of home brew. A clear liquid. A haze of smoke.

They begin to tear to tear the girl's clothes off. SNICKERING. She takes the abuse from them. As if in stupor. Drugged, but enjoying the attention.

Plissken moves past them. One of the men sees him. Then the others. They freeze. The girl continues to flop around, mindless that the men have stopped. PUNK, the leader, steps forward. Open-mouthed. He pulls one blade of a broken pair of scissors from his belt.

Plissken glances at Punk.

PLISSKEN
Not now.

Plissken starts walking past him. Punk takes a swing at Plissken. In a flash Plissken sidesteps the blade and buttstrokes Punk with his rifle. Punk flops to the floor. The other shrink back into the shadows. Plissken moves forward.




Plissken Walking Alone In A Street On His Way To The Escape Pod

EXT. STREET - NIGHT

HIGH SHOT looking down at a lonely city street.

Plissken is a small figure walking along.




Plissken Shooting Another One Of The Crazies In Chock Full O'Nuts

Comment (Jeff Sillifant/Uncredited Prisoners): "My friend Mark Groseclose, a fellow Crazy was in the lead when the guys came storming into Chock but that got severely cut as well. He didn't get to see himself shot gunned by Snake."



Crazies Leaping Out Of The Hole The Girl In Chock Full O'Nuts Fell Into With One Crawling Toward The Camera

INT. CHOCK FULL O' NUTS

Out of the hole Maureen fell into another CRAZY leaps up! And another! And a third!

Comment (Jeff Sillifant/
Uncredited Prisoners): "I was filmed crashing up out of the floor and crawling directly toward the camera all mean and gnarly but my close-up ended up on the ole cutting room floor. I knew an assistant editor and he gave me film strips of the remaining sequence. Sadly, that's all beet red now."



Prisoners Gathering Food Boxes From A Helicopter At Central Park's Food Drop Site

EXT. CENTRAL PARK - DAY (EFFECT)

Rising above the park is the skyline. Junked cars are scattered around. Smoke drifts.

SUPERIMPOSE:

CENTRAL PARK
3:30 P.M.

Over the buildings in the distance three helicopters move down toward the park. From out of the trees and shrubbery move DOZENS of PRISONERS, running toward the helicopters.

INT. HELICOPTER

The pilot pushes a button on his stick.

ANGLE ON BOTTOM OF HELICOPTER

A bulky object drops from the helicopter.

ANGLE ON CLEARING

The object hits the ground. Almost instantly PRISONERS of all sizes and shapes rush out of the trees and rip the tarpaulin off the food!

Comment (Jeff Sillifant
/Uncredited Prisoners): "The scene began with the guys running toward the incoming chopper until we got under it and the boxes were pushed out. We then gathered them up as the chopper zipped off. Everything was filmed but only the brief bit landed on screen."

Trivia: The Helicopter food drop part had to be rethought when they realized that the packages would fall behind the Manhattan skyline at Central Park which was a matte painting on a piece of glass the camera would film through.



Hauk Getting Ready For Another Rescue Mission

INT. CONTROL BUNKER - DAY

Hauk, now outfitted with a backpack, loads his rifle. Rehme enters.

REHME
They're ready.

HAUK
Okay...

Hauk glances at the radio. For a beat. Then he slowly turns and walks out of the bunker.



Plissken Limping Out From The Grand Central Station


EXT. GRAND CENTRAL STATION - STREETS - DUSK

Plissken limps out of the Garden, pulling on his leather jacket. It looks like panic in the street! Prisoners running! Old cars SCREECHING around corners! Mass confusion!

Plissken moves into CLOSEUP. He looks up into the sky.

POV - WORLD TRADE CENTER

Looming up into the dusk sky. The World Trade Center.

ON PLISSKEN

PLISSKEN
Not again, Harold!

Plissken dashes over to a GYPSY starting to get in his car. He yanks the gypsy out of the way and jumps in. The car ROARS away.


Comment (John Contini/Uncredited Prisoners): "
There was one incredible scene involving at least 200 extras that took a whole night to shoot and never ended up in the final cut. It takes place right after they discover Brain took the president and all the extras in the wrestling arena charge out of the front doors of Grand Central Station. There were three cameras set up across the street from the doors and I was the lucky one to push doors open and lead some of the charging prisoners out. I believe it could have been a very impressive looking epic scene but for some reason it fell on the cutting room floor.
"

Photo 4: US Special Edition DVD



Hauk Handing Over A Mobile Two-Way Radio To Cronenberg And Talking To Him

INT. CONTROL BUNKER

SECRETARY OF STATE
We've got to go in! Now!

HAUK
We hold.

SECRETARY OF STATE
You're countermanding my orders, Hauk!

HAUK
This is my prison. I give the orders.

SECRETARY OF STATE
I override all that!

HAUK
Just try.

Hauk turns to Dr. Cronenberg.

HAUK
Where's your machine?

DR. CRONENBERG
At the airstrip.

HAUK
How long would it take to get it back over here?

Cronenberg looks at him curiously.

DR. CRONENBERG
Twenty minutes. But he'll use the glider, won't he?

HAUK
If he can.

Hauk hands him a mobile two-way radio.

HAUK
Stay on this radio. Talk to me when you get there.

DR. CRONENBERG
(smiles)

Somehow I think you've grown fond of Mister Plissken.

HAUK
I love him. When I see him, I'm gonna kiss him on the lips.




Plissken Running Into The World Trade Center

EXT. WORLD TRADE CENTER - NIGHT

The car konks out completely and rolls to a stop. Plissken jumps out. Looks at his watch.

CLOSE ON WRIST WATCH

2:05:34, 33, 32...

ON PLISSKEN

He runs into the World Trade Center.



Plissken Running Up The Stairwell In World Trade Center

INT. STAIRWELL

ANGLE DOWN the stairwell. Plissken races upward, around and around.

Comment (Louise Jaffe/Script Supervisor): "
Dolly shot of stairwell."




Plissken Running Through The Office Floor In World Trade Center

INT. CORRIDOR - WORLD TRADE CENTER

Completely exhausted and out of breath, Plissken emerges from the stairwell door. He limps down the hall. Pushing himself forward. Breathing in GASPS.

Then the muffled sound of GUNSHOTS! From above!

Plissken bolts to the roof door.




Plissken, The President, Brain And Maggie Running Down The Stairwell In World Trade Center

INT. STAIRWELL - PANAGLIDE

CAMERA PANAGLIDES BEHIND Plissken, the President, Brain and Maggie as they wind their way down the stairwell. They stop for a moment, sagging from fatique. Plissken glances at his wrist watch.

CLOSE ON WRIST WATCH

1:00:20, 19, 18...

BACK TO SCENE

Plissken moves forward. They continue down the stairwell.



Plissken Taking Out The Other Cars Chasing Him Under The 69th Street Bridge

EXT. UNDER BRIDGE - GIRDERS - NIGHT

The taxi RUMBLES under the bridge and suddenly turns in! It swings around some large girders and comes to a stop on the other side.

EXT. UNDER BRIDGE - GIRDERS

The Duke's car, followed by the gypsy cars, come ROARING UP. Plissken HONKS his horn! Suddenly the Duke hits his brakes! And the car behind him SMASHES into him! And the car behind that one SMASHES into it! The fourth car swerves to avoid the crack-up and TAIL-ENDS the girders.

Then the taxi ZOOMS out from behind the girders and ROARS off in the other direction. The Duke's car manages to turn around and race off in pursuit. As does the fourth car. Gypsy cars two and three are helplessly locked!

EXT. UNDER BRIDGE - SECOND GIRDERS

Once again Plissken pulls the taxi in behind some girders. This time the lights go off.

The Duke's car approaches cautiously. Right behind it comes the fourth car.

Plissken ROARS forward and SMASHES into the fourth car, sending it spinning. The Duke quickly turns around and races after the taxi.

EXT. ENTRANCE TO BRIDGE - BARRICADES

The taxi SCREECHES around a corner, SMASHES several barricades and roars through an underpass.



The Duke Smashing Into The Rear End Of The Exploded Taxi At The 69th Street Bridge

EXT. BRIDGE

ANGLE ON DUKE'S CAR - TAXI

The Duke's car twists in pursuit. He SMASHES into the rear end of the taxi, tearing fenders and shredding the sides. But he keeps moving!



Plissken Rolling Behind A Junked Car After The Dive From The Duke's Bullets At The 69th Street Bridge

EXT. BRIDGE

ON PLISSKEN

Plissken hits the surface of the bridge and rolls behind a junked car!



Plissken Lighting The Hartford Summit Tape With His Cigarette

EXT. POLICE COMPLEX - NIGHT

TRACKING SHOT WITH PLISSKEN

As he pulls the real tape cassette out of his jacket! He calmly pulls some tape out of the cassette, lights it with his cigarette and tosses the burning tape away.

As Plissken walks out of frame, WE FADE TO BLACK.

ROLL END TITLES.

Photo: French Collector's Edition DVD


Escape From L.A.




City Street Opening Scene

A DARK TABLEAU - CITY STREET - LOS ANGELES - NIGHT

Graffiti-smeared walls. Fires raging. Automatic weapons FIRE. Shadowy FIGURES dash through the southern California night.




Brazen Talking To Malloy And The President About Plissken
(MP4) (808 KB)

INT. CORRIDOR - NEAR CONTROL ROOM - NIGHT

Malloy, Brazen, and a 3RD MAN -- tall, charismatic, grim -- move urgently along a corridor. No masks or gloves in this area of the complex.

MALLOY
So what have you got?

BRAZEN
We ran a psychoprofile on him. Used a database of 5 million sociopathic personalities. He hit the bottom of the curve.

MALLOY
No change since '97, huh?

BRAZEN
He's gotten worse. Zero emotional developments. Total lack of compassion. A highly developed psychopathic instinct to survive.

MALLOY
The only thing he's ever cared about is staying alive for another 60 seconds.

3RD MAN
Let's get this over with.


Source: Trailer



Plissken Getting Caught Up By A Mudslide Down The Hills Of The Hollywood Bowl


EXT. HILLS ABOVE THE HOLLYWOOD BOWL - NIGHT - RAIN

The rain is coming down in a torrent as Plissken makes his way down the hillside.

Suddenly, a huge KATHUMP from above him. Plissken looks back.

A HUGE MUDSLIDE

is ROARING its way down the hill toward him.

PLISSKEN

races down the hill, but the mudslide cascades downward like a freight train, catches up with him, sweeps him off his feet...and Plissken goes riding down the hill, tumbling and sliding in the mud.



Plissken Climbing Out Of The Goo And Pulling Out Tracer Above The Hollywood Bowl


Clip 1 (MP4) (428 KB)

Source: Official Site Behind the Scenes Featurette

Clip 2 (MP4) (138 KB)

Source: Official Site Behind the Scenes Featurette

Clip 3 (MP4) (184 KB)

Source: Official Site Behind the Scenes Featurette

EXT. STAND OF TREES - ABOVE THE HOLLYWOOD BOWL - NIGHT - RAIN

The mudslide hits a flat area, spreads out. A mud-covered Plissken climbs out of the goo. He's dripping with it. His one good eye gleams.

Bellow him is the Hollywood Bowl. He pulls out the tracer. The screen shows the blinking red light to the southeast of his position.

The rain washes the mud off his body. He moves off.


Comment (Michael Lessa
/Visual Effects Supervisor): "For the deleted Hollywood Bowl shot, we set up a bunch of dead trees in front of the blue-screen for Kurt to be walking through when he sees the Bowl. We also shot a lot of extra trees without him so I could put more in the foreground or background as needed. The Bowl was also a matte painting. The shot was actually cut from the film about two days before the final composite was done. The final looked great, but it was already out..."



A Hooker Strutting In Front Of Plissken At Hollywood Boulevard

EXT. HIGH SHOT - HOLLYWOOD BOULEVARD - NIGHT

Looking down Hollywood Boulevard. The ruins of the old Chinese Theater. A CROWD on the street. BLACK, LATINO, NATIVE AMERICAN GANGS. Plus the usual Hollywood Boulevard STREET TRAFFIC: HOOKERS, DRUG DEALERS, etc. Plissken moves up the boulevard.

GORGEOUS HOOKERS

stand under a marquee which reads:

SAFE SEX
NO CONDOMS NEEDED

POLYPROPYLENE ORIFICES
SATISFACTION GUARANTEED

PLISSKEN

moves through the street traffic. A PRETTY HOOKER blocks his way for a moment.

Opening her mouth, the Pretty Hooker gives a sensuous puff. A polypropylene condom attached to the inside of her lips expands outward like a small balloon. She sucks it back in and puckers, kissing the air.

Plissken moves on, stares at his tracer, then turns to a corner into an alley.


Source: Mauritz Pavoni (Production Assistant)



Plissken And Taslima Escaping Through A Window At The Beverly Hills Hotel


INT. DARKENED HALLWAY - SURGICAL THEATER - NIGHT

A NURSE unties Taslima, who quickly joins Plissken. They back away toward the hallway. Plissken drags the Surgeon General.

Taslima is right behind. Suddenly they stop.

The hallway in front of them is filled with SURGICAL FAILURES standing with hand weapons waiting for them.

TASLIMA
Come on.

Taslima heads off into a room. Plissken follows.

INSIDE THE ROOM

Taslima races to a broken window, scrambles through it.

TASLIMA
This way.

Plissken shoves the Surgeon General away, follows Taslima through the broken window...

Comment (Christian P. Della Penna/First Assistant Director): "We had to get them out of there somehow so we did one shot of them getting out the window at the end of the hall. Him and the girl."




Cuervo Jones Talking More To Plissken In The Locker Room At The Los Angeles Memorial Coliseum


Clip 1 (MP4) (1.34 MB)

Source: The Making of Escape From L.A.

Clip 2 (MP4) (932 KB)

Source: The Making of Escape From L.A.

Clip 3 (MP4) (184 KB)

Source: Trailer/Official Site Behind the Scenes Featurette

Clip 4 (MP4) (1.14 MB)

Source: The Making of Escape From L.A.


INT. LOCKER ROOM - NIGHT

PLISSKEN'S GOOD EYE

opens. Looks around fuzzily.

He is in a large dilapidated locker room. Torch-lit. We SEE row upon row of work-out machines, some from the '90s, some more modern. Stairmasters, Versaclimbers, treadmills, rowing machines, free weights, etc. Plissken is tied upright to one of the machines.

In one corner, a remote T.V. hookup is being prepared. A futuristic lasercam sits on a tripod. Lights.

Cuervo Jones strides into the room toward Plissken. Map To The Stars Eddie scurries along at his side.

MAP TO THE STARS EDDIE
Come on, Cuervo. I delivered him, didn't I? I figured out what the cops sent him in to do. Plissken was the second rescue team. He was supposed to get the black box and the girl, and then take 'em back over the wall. He did it once before, so they figured he could do it again. Only one problem. They didn't figure on you, Cuervo.

CUERVO JONES
(puffing)
You're right, agent.

MAP TO THE STARS EDDIE
So all I'm asking for is a finder's fee after you take over. Maybe Wisconsin, I don't know...

CUERVO JONES
We'll see.

Cuervo stops in front of Plissken. Sees that he's awake. Holds out a glass filled with red liquid.

CUERVO JONES
Carrot juice?
(no response)
Laced with tequila, Snake. Good for you. No?
(no response)
Your health.

Cuervo downs the carrot juice. Plissken lifts his head. Sweat pours down his face. Out of the corner of his eye, Plissken catches a glimpse...

...of his watch. Only 3 hours to go. Cuervo leans closer to Plissken.

CUERVO JONES
Running out of time, Snake. But don't feel so bad. You beat the odds for a little while.
(his smile fades)
It's a shame your luck just ran out.

He steps back, considers Plissken for a moment.

CUERVO JONES
Snake Plissken. American outlaw. So typical of American idealism. The old west, Snake. Man against the sky. The individual. Freedom. No wonder they hate you so much in America, Snake. You remind them of what they used to be.
(beat)
Funny, though. I thought you'd be taller.

Utopia bounds into the room. Right behind her is TEST TUBE, 40's, Cuervo's computer operator and all-around handy-man. Test Tube carries the black box.

TEST TUBE
They're almost set up, Cuervo.

UTOPIA
(sees Plissken)
What's he doing here?

CUERVO JONES
Snake? He's looking for this.

Cuervo takes the black box from Test Tube.

CUERVO JONES
Spookin' for the the man now, huh, Snake? I never thought I'd live to see it. You workin' with the cops.

UTOPIA
(scrutinizes Plissken)
He could be a fake, Cuervo.

Utopia moves closer to Plissken.

UTOPIA
He's supposed to be a famous gunfighter?
(Cuervo nods)
I mean, he looks so -- I don't know -- out of it.

Test Tube sets up a computer and a futuristic monitor.

TEST TUBE
I'm all set, Cuervo.

CUERVO JONES
Hey, Snake. Good news. You came to just in time for my little demonstration. Gonna show the President what he gets for sending you in here.
(to Test Tube)
Tell him how it works.

TEST TUBE
Really?

CUERVO JONES
Sure. Snake don't give a shit which side he's on.
(to Plissken)
And after you see this, you'll want to be on my side.

Test Tube turns the monitor toward Plissken and punches up a visual of what he explains.

TEST TUBE
I originally heard sbout this when I worked for NASA. Then the fuckers kicked me out of the country. So I hooked up with Cuervo and told him about it.

Test Tube opens the black box. All eyes in the room go to it, as he pulls out a remote control unit exactly like the one Brazen used and Map To The Stars Eddie used.

TEST TUBE
Common, ordinary remote control unit, right? Everybody's got one. But here's the kicker.

Test Tube reaches into the black box, takes out a silver c.d. that is, again identical to the ones we have seen except for one thing: a small, red dot, laser encoded, near the center of the disc.

TEST TUBE
This instruction disc hooks you right into the Sword of Damacles, the ultimate defensive weapons system. Take a look.

Test Tube punches buttons on the computer.

AN IMAGE

appears on the monitor: a computer-rendered view of earth from space. Orbiting high above is a ring of satellites that surround the planet like a necklace.

TEST TUBE
There's a ring of satellites encircling the earth. Attached to each satellite is a mega-neutron bomb with a laser optic aiming device. When detonated...

TEST TUBE punches more buttons on the computer. The ring of satellites on the monitor explode, sending out a massive pulse down toward earth.

TEST TUBE
...each satellite unleashes an intense electro-magnetic pulse. E.M.P.
(more buttons)
E.M.P. Doesn't harm a living thing. People, animals, plants -- nothing.

Plissken watches intently...

TEST TUBE
What it does is shut down every known power source. All electrical devices -- cars, airplanes, toasters, computers .. everything. Even batteries. Pretty old technology, actually. It's been around since the Gay 90s. But this...
(holds up the silver c.d.)
...makes this...
(holds up the remote control)
...an aiming device that gives the user incredible accuracy.

Test Tube punches another button. On the monitor, SEE the E.M.P. pulse suddenly narrow to a pinpoint on the earth, then widen again and spread out to cover the whole planet.

TEST TUBE
You can pinpoint precisely what you want to shut down. A taxicab in Buenos Aires. The entire country of Spain. Brilliant.

Test Tube hands the silver c.d. and remote control unit to Cuervo Jones.

TEST TUBE
Hell, you could key in all the satellites and shut down the whole planet -- send it right back into the Dark Ages!  

CUERVO JONES
Of course shutting down the Earth would be useless. Everything equal, everybody equal. That's no fun, right Snake?
(walks to Plissken)
Power where everyone is equal is no power at all. Me, the President, you -- even the taxi driver in Buenos Aires -- we'd all be the same. Nobody wants to play on a level field, Snake.

The Mescalito who picked up Snake's jacket on Sunset Blvd. comes out. He's now wearing the jacket. NOTE: Whenever we see this Mescalito from now on, he wears Snake's jacket.

MESCALITO
We're ready, Cuervo.

CUERVO JONES
(nods to him)
Whoever has this controls who doesn't have power. And that amigo, is total power. Pretty cool, huh?
(no response)
Check it out, Snake. You're gonna like this.



After The Broadcast In The Locker Room
At The Los Angeles Memorial Coliseum

INT. LOCKER ROOM - NIGHT

The Mescalitos CHEER. Test Tube's ecstatic.

TEST TUBE
It worked, it worked!

CUERVO JONES
Good thing for you it did.

A Mescalito approaches Cuervo, leans into his ear.

MESCALITO
(re: the Deportees)
Cuervo, they're hungry. What do I do with them?

CUERVO JONES
I don't care -- get rid of them.

The Mescalito nods, then ushers off the Deportees. Utopia is clearly affected by Cuervo's callousness. Cuervo notices Utopia looking at him.

CUERVO JONES
(to Utopia)
Go get dressed. We have things to do.

UTOPIA
(somewhat cautiously)
Are we gonna eat soon? I'm starved.

Cuervo gives her a slap on the butt, which startles Utopia. She looks at him.

For the first time, we see a little fear in her eyes.

CUERVO JONES
Go on, now. Do as I say.

Plissken watches as Utopia slowly walks away.

CUERVO JONES
I'm going to show her what it means to be a woman -- for the first time in her pathetic little life.
(moves to Plissken)
I'll give her love, Snake. Everybody needs love.
(leans close)
So what do you think? You want to hook up with me? Join the revolution?
(holds the remote control unit)
I'm gonna rule the world. Come with me.

Plissken says nothing. His good eye glares.

CUERVO JONES
No? Too bad. You're not as smart as I thought you were.
(to several Mescalitos)
Get him ready.

Cuervo places the remote control unit back into its black box, wheels and marches off. The Mescalitos move to Plissken, begin to untie him, pull him to his feet. The Mescalitos hold their guns on him, usher him forward out of the locker room.

Source: William Luduena is credited as Mescalito



Map To The Stars Eddie Saying To Cuervo Jones: "Cuervo, I'm taking care of you. I'm with you in all this. Don't you understand?" Outside The Los Angeles Memorial Coliseum (MP4) (995 KB)

Comment (Andreas/Webmaster): "In this alternate shot we actually get to see Map to the Stars Eddie saying this line to Cuervo Jones. In the final movie we only get to hear it in the background while Plissken is preparing a car to blow up by setting a piece of paper on fire and sticking it into the petrol flap."

Source: Official Site Behind the Scenes Featurette



Close-Up On Pipeline Turning His Head In Wilshire Canyon After Plissken Is Flushed Out
(MP4) (264 KB)

Source: Official Site Behind the Scenes Featurette



A Beautiful Woman Dancing On A Narrow Girder During The Glider Flight

EXT. TOPS OF SKYSCRAPERS - NIGHT

A BEAUTIFUL GIRL in a sheer diaphanous gown dances far out on a narrow girder waving a scarf at the moon.

Comment (Michael Lessa/
Visual Effects Supervisor): "We did shoot the girl dancing on the beam, but it was omitted in the first rough cut. So we never did the effects for it."



USPF Troops And Vehicles In Firebase 7 Heading For Plissken's Chopper
(MP4) (666 KB)

Source: Trailer



Promotional Clips




Plissken Saying: "Welcome To L.A."
(MP4) (481 KB)

Source: The Making of Escape From L.A./Official Site Behind the Scenes Featurette/TV Spot



Plissken Saying: "Call Me Snake." (MP4) (240 KB)

Source: TV Spot



Plissken Saying: "Your Rules Are Really Beginning To Annoy Me."
(MP4) (835 KB)

Source: The Making of Escape From L.A./Trailer/TV Spot



Plissken Saying: "You Got A Problem With That?"
(MP4) (138 KB)

Source: Trailer



Omitted Scenes (Shooting Schedule)




An Army Of Terrifying Figures Climbing Atop A Mountain Of Debris And Raising Their Weapons Into The Night Sky In The Ruins Of L.A.

WHAM! A TORCH-LIT LANDSCAPE - NIGHT

The ruins of L.A. Rubble, smoke, a lethal wasteland. An ARMY of terrifying FIGURES climbs atop a mountain of debris. They raise their weapons into the night sky.

FEMALE NARRATOR
By January of the year 2001, street gangs, South American terrorists and the criminally insane capture Los Angeles Island, the once-great City of Angels.


Comment (Andreas/Webmaster): "Was scheduled to be filmed March 19, 1996 in studio."

Source:
Michael Lessa (Visual Effects Supervisor)



Plissken On A Bike Grabbing A Chain And Gunning Down A Biker

EXT. SUNSET BOULEVARD - NIGHT

ON PLISSKEN

Coming right behind him are 4 MESCALITOS on Harleys -- chains, iron bars, and swords in their hands. Plissken stares up ahead. The Chevy is still a few vehicles ahead of him.

Plissken guns it, when suddenly 2 Mescalitos pull up on either side of him. One of them swings a chain.

Plissken grabs it with one hand, and with his other hand, aims his submachine gun and FIRES!

The Mescalito and bike go flying, and Plissken holds on to the chain.

Comment (Andreas/Webmaster): "Was scheduled to be filmed January 15, 1996. An alternate version was filmed instead."



Pllissken On A Bike Yanking Off A Biker With The Chain

As the other Mescalito riding behind him swings a chain. Plissken swings his. The two chains SNAP together, intertwining.

Then Plissken squeezes his hand-brake.

He SCREECHES to a stop. The Mescalito keeps going, and is yanked over backward by his own chain, off the Harley.

Finally the Harley flops over, skids, EXPLODES.

Comment (Andreas/Webmaster): "Was scheduled to be filmed January 15, 1996. An alternate version was filmed instead."




Plissken Leaping From Bike To Horse Then Taking Out A Biker And Taking His Bike

PLISSKEN

SURGES the bike forward, coming up on a Mescalito on horseback who turns and FIRES. Plissken ducks and the bullet RIPS THROUGH the rear tire. The tire BLOWS and the bike SWERVES out of control. Plissken LEAPS from the bike and grabs the back of the saddle.

THE HORSE

Plissken pulls himself up behind the Mescalito and wrestles for control of the mount. Plissken grabs the reins and wraps them around the Mescalito's neck, squeezing until his eyes burst. Plissken SLAMS his arm against the Mescalito, throwing him off the saddle, BOUNCING onto the pavement.

Plissken GALLOPS ahead, circling a lasso high above his head, POUNDING down on a biker. The lasso takes flight and finds it mark, the biker's neck.

Plissken pulls the lasso taut, ties the end to the saddle horn, rides his mount parallel to the biker.

THE BIKE

with one quick YANK to the lasso, Plissken PULLS the biker off, JUMPS on the bike and SMACKS the hell out of the horse's rump.

THE HORSE

TAKES OFF down the street, DRAGGING the biker by the neck.


Comment (Andreas/Webmaster): "Was scheduled to be filmed January 16, 1996. An alternate version was filmed instead."



Plissken Fighting Cuervo Jones On The Roof Of A Car

THE CHEVY

speeds up as Plissken moves up to the Mustang five cars behind. He swings off the bike and jumps on to the trunk.

PLISSKEN

climbs up to the roof, leaps on the hood, then jumps to the trunk of the car in front -- leapfrogging, jumping to the next car, the next car...

CUERVO JONES AND UTOPIA

CUERVO JONES
(watching Plissken get closer)

Cuervo Jones climbs up onto the rear of the Chevy...

MESCALITOS

lean out their car windows, FIRING at him...

BUT PLISSKEN keeps moving toward the Chevy... 

SUDDENLY A HAND

reaches out a car window and grabs Plissken's submachine gun. Plissken turns to snatch it back --
 
WHEN CUERVO JONES

leaps from the Chevy and takes Plissken down to the roof.

They struggle. Cuervo raises his machete. Plissken grabs his wrist, flips him over, knocks the machete off into the street, SMACKS Cuervo in the face...

Cuervo kicks Plissken hard in the stomach, sending him staggering. The Cuervo's on his feet, his hands around Plissken's neck.

CUERVO JONES
Nobody rolls into town and takes over my territory, gringo. Not Snake Plissken, not nobody.

A BOLAS-SWINGING MESCALITO comes roaring up on his bike, throws the bolas...

PLISSKEN

as CUERVO ducks, and the bolas hit him, wrap round his neck, the balls THUNKING him in the face, sending him flying...

KAWHAP!

Plissken hits the pavement hard. He skids, rolls, and at last SLAMS into the edge of the sidewalk.

THE CARAVAN

rumbles away down Sunset. The hand in the car window still holds Plissken's submachine gun.

Cuervo crouches on the roof, HISSING at Plissken.

CUERVO JONES
Take him out!

Comment (Andreas/Webmaster): "Was scheduled to be filmed January 18, 1996. An alternate version was filmed instead."



A Group Of Vagrants Clustering Around The Edge Of The Twin Towers Of Century City And A Brush-Fire Sweeping Through The Hills

EXT. SKY VIEW OF L.A. BY NIGHT

ANGLE ON THE TWIN TOWERS OF CENTURY CITY

They're like buck teeth, sheered off and crumbling, stuck up in to the sky. A GROUP OF VAGRANTS cluster around the edge of the building -- the walls of the floors beneath have been torn away. Desk, furniture, rugs, everything hangs out over the empty space.


In the hills to the north, SEE a massive brush-fire sweep through the old Hollywood Hills, across Los Feliz, into Griffith Park.

Comment (Andreas/Webmaster): "Was scheduled to be filmed March 19, 1996 in studio."

Source:
Michael Lessa (Visual Effects Supervisor)



A Bracero Family Having Dinner In A Skyscraper During The Hang Glider Flight

EXT. TOPS OF SKYSCRAPERS - NIGHT

The group of hang gliders sweep past the buildings. A BRACERO FAMILY is having dinner by candlelight two feet from the edge of a sheer precipice, as the side of the skyscraper they live in has been torn off. They wave to Plissken as he passes.

Comment (Andreas/Webmaster): "Was scheduled to be filmed March 19, 1996 in studio."


Source: Michael Lessa (Visual Effects Supervisor)



Plissken Rolling Across The Ground On Fire As The Helicopter Explodes

EXT. SMALL CLEARING - NIGHT

THE HELICOPTER

dives toward the ground...

FROM BEHIND PLISSKEN - INSIDE

looking out the front, SEE the ground come up, hit! KABLOOM! Plissken ducks. THE BLADES SMASH THROUGH the windscreen, barely missing his head. The fuselage jumps and twists in a GRINDING fury. Fire billows into the cockpit, engulfing Plissken...

EXT. HELICOPTER - SMALL CLEARING - NIGHT

Plissken pulls himself out of the door. He is on fire. He dives away from the chopper and rolls across the ground, just as the flaming mid-section of the ship EXPLODES in a ROARING FIREBALL.


Comment (Andreas/Webmaster): "Was scheduled to be filmed February 15, 1996. An alternate version was filmed instead."

Source: Christian P. Della Penna (First Assistant Director)